AP Music Theory Rudiments II and Analysis Exam Name Time allotted: 45 minutes I. Multiple Choice. Each of the questions or incomplete statements below is followed by four suggested answers or completions. Select the one that is best in each case and circle the letter. 1. The correct analysis of the chord above is (A) V 6 in E major (B) V 6 4 in A major (C) V 4 3 in E major (D) V 4 2 in A major 5. The interval shown above is (A) a major fifth (B) an augmented fifth (C) a major sixth (D) an augmented sixth 2. The correct analysis of the chord above is (A) ii o in B minor (B) iv in E minor (C) vi in C major (D) vii o in B-flat major 6. The interval shown above is (A) a diminished seventh (B) a minor seventh (C) a major seventh (D) an augmented seventh 3. The correct analysis of the chord above is (A) i 6 in A minor (B) IV 6 4 in C major (C) v 4 3 in B-flat minor (D) VII 7 in G minor 7. The interval shown above is (A) a d2 (B) a m2 (C) a M2 (D) an A2 4. The correct analysis of the chord above is (A) I 6 in G major (B) III 6 4 in E minor (C) IV 6 4 in C major (D) V 6 in A-flat minor 8. The interval shown above is (A) a M3 (B) a A3 (C) a P4 (D) an A4
9. What type of cadence and non-harmonic tone are illustrated? (A) a half cadence with a suspension (B) an imperfect authentic cadence with a passing tone (C) a plagal cadence with an escape tone (D) a deceptive cadence with a neighbor tone 10. What type of cadence and non-harmonic tone are illustrated? (A) a half cadence with changing tones (B) an imperfect authentic cadence with an suspension (C) a perfect authentic cadence with an anticipation (D) a deceptive cadence with a passing tone 11. What type of cadence and non-harmonic tone are illustrated? (A) a half cadence with a passing tone (B) an imperfect authentic cadence with a suspension (C) a deceptive cadence with an anticipation (D) a plagal cadence with an appoggiatura 12. What type of cadence and non-harmonic tone are illustrated? (A) a half cadence with a neighbor tone (B) an imperfect authentic cadence with an anticipation (C) a deceptive cadence with a suspension (D) a plagal cadence with an escape tone
Questions 13-17 are based on the musical example printed below. 13. The meter type is (A) compound duple (B) compound triple (C) simple duple (D) simple triple 14. Which of the following describes the cadences at the end of each phrase? (A) Both are authentic (B) Both are half (C) The first is authentic; the second is half (D) The first is half; the second is authentic. 15. The two phrases would be best analyzed as (A) contrasting period: a followed by a (B) contrasting period: a followed by b (C) parallel period: a followed by a (D) parallel period: a followed by b 16. The first few pitches of the melody, in solfege degrees, are (A) Do mi-do-mi-do-la-fa-la-fa-do (B) Do fa-do-fa-do-la-fa-la-fa-do (C) Do fa-do-fa-do-sol-fa-sol-fa-do (D) ti me-ti-me-ti-sol-me-lsol-me-ti 17. The non-harmonic tones found in measure 7 are (A) neighbor tones (B) neighbor tones and passing tones (C) passing tones (D) passing tones and escape tone
Questions 18-21 are based on the musical example printed below the first line of Variation I, II, and III Variation I Variation II Variation III 18. The harmonic progress in measures 1-4 of Variation II is best analyzed as (A) i V i VII (B) i V i 6 VII (C) i V 6 i VII 6 (D) i VII i V 19. The use of non-harmonic tones in the right hand of Variation I, II, and III, respectively, can be labeled as (A) neighbor tones, neighbor tones, passing tones (B) neighbor tones, passing tones, neighbor tones (C) passing tones, neighbor tones, passing tones (D) passing tones, passing tones, neighbor tones 20. Transforming the melodic idea in measure 2 of Variation I, C# A B C# A into A C# B A C# is known as (A) augmentation (B) inversion (C) retrograde (D) sequence 21. The complete theme is composed of phrases a b a b. How would this form be diagramed? (A) A A (B) A A (C) A B (D) A B A B
Questions 22-25 are based on the musical example printed below. 22. Which of the following best represents the form of the excerpt? (A) a b a (B) a b a (C) a a b (D) a b b 23. Without changing the melodic tones, the non-harmonic tones that can be added to measure 1 are (A) appoggiaturas and suspensions (B) escape tones and appoggiaturas (C) neighbor tones and passing tones (D) passing tones and escape tones 24. The cadences at the end of phrases 1, 2, 3, respectively, are most appropriately labeled as (A) HC, HC, PAC (B) IAC, IAC, IAC (C) IAC, PAC, IAC (D) PAC, HC, PAC Copy the following statement in script and sign. I certify that I have completed this exam to the best of my ability, within the time allotted, and without help from an outside source. Signed, X.